IATSE-2nd2018_web

But motion pictures were increasingly being shot on location
in places far from Hollywood and New York, with the growing
independent film movement leading the way.
A prime motivation for this trend was the desire to use
cheaper, non-union crews. President Di Tolla sought to nip
this looming problem in the bud. He chartered several new
Studio Mechanics Locals in the late 1980s and early 1990s.
The International began to assist these local unions with vigorous
organizing efforts. Then-International Representatives
Matthew Loeb and Scott Harbinson led several successful organizing
efforts in the Carolinas in the early 1990s, which ultimately
led to the chartering of Studio Mechanics Local 491
in 1994.
The IATSE chartered Local 494 in Puerto Rico, representing
studio mechanics, audio visual, motion picture and stagecraft
employees. Previously ignored, this relatively young Local’s
members are covered by the Area Standards Agreements in the
Motion Picture industry and the Commercial Production Agreement.
Additional Locals were chartered and existing Studio Mechanic
Locals were invigorated. This built great momentum, but
more needed to be done.
At the 1995 Biennial Convention, delegates voted to adopt
Article 19, Section 31 in the IATSE Constitution and Bylaws. The
article directed that outside of the production cities, no local
union was to bargain with an Employer before contacting the
International. Prior to this, producers would attempt to eliminate
the International from the bargaining process and to pit
one local union against the others in areas outside of the major
production cities. The adoption of this new section in the IA
Constitution was a watershed moment that prevented employers
from pursuing divide and conquer tactics. That went a long way
toward achieving the tremendous growth, strength and industry
stability that members enjoy today.
EXPANDING THE PINK CONTRACT
Throughout the 1990s, the Pink Contract continued to grow,
covering special events, television productions, and newly organized
low-budget legitimate theater productions — and as it did,
it became a valuable tool for organizing.
In particular, IATSE implemented a policy of negotiating
“Modified” Pink Contracts in order to organize previously
non-union traveling theatre attractions, starting with State Fair
in October 1997. Ever since, the Alliance has had considerable
success in bringing these productions under IA contracts, and
bringing qualified technicians into the IATSE.
Between 1997 and 2003, IATSE organized more than onehundred
productions, with contracts covering stagehands, wardrobe,
and make-up and hair employees. This area had previously
been ignored out of a reluctance to bargain with producers who
were not members of the League of American Theatres and Producers,
Inc.
The Modified Pink Contract helped road crews improve
their wages, working conditions and benefits, while allowing
low-budget productions to continue filling a void that helps the
entire road show system prosper. This also offers a valuable step
for traveling crew to become members of the IATSE as they work
their way up to be employees with the larger productions that
operate under the standard Pink Contracts. Local unions have
always been very helpful in efforts to organize these road crews,
and in helping them learn the system and understand the value
of unionism and the IATSE.
In addition, the Canadian Pink Contract was established in
1997 after many years of discussion and negotiation. It covered
traveling stage, wardrobe, projection, make-up and hair employee
contracts. The Canadian Pink Contract differs from the
standard Pink Contract only in areas of benefits, holidays, and
the grievance procedure, due to differences in Canadian law and
social insurance programs.
President Short and General
Secretary-Treasurer Proscia
with Local 494 Charter in 1997
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